Portrait D'igor Lintz Maués

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Portrait d'Igor Lintz Maués Igor Linz Mauès is a composer and sound artist born 1955 in São Paulo, Brazil, and since the end of the 1980s living in Vienna, Austria. He studied Composition, Electroacoustic and Computer Music in São Paulo, The Hague, Utrecht and Vienna with Willy Correa de Oliveira, Gilberto Mendes, Louis Andriessen, Gottfried Michael Koenig and Wilhelm Zobl. His dissertation "Música Eletroacústica no Brasil 1956-1981“ is the reference work about the pioneering years of the Brazilian electroacoustic music. During the 1980s he was lecturer at the São Paulo State University (UNESP), where he also directed the Laboratory of Electroacoustic Music (LME-IAP, which has been founded by Michel Philippot and Conrado Silva in 1977). In 1991 he joined the University of Music and Performing Arts, Vienna (Institute ELAK), where he has been Associate Professor of Electroacoustic and Experimental Music since 2002. From 1995 to 2000 he was president of the Austrian Society of Electroacoustic Music. His book "Acustica-Elektronischer Frühling/ Dokumentation elektroakustischer Musik in Österreich" (1995, together with Gerald Trimmel) documents the situation of the Austrian electroacoustic music during the 1980s and the 1990s. From 1997 to 2002 he directed the composer's forum of the ISMEAM - International Summer Meeting of Electroacoustic Music in Sárvár, Hungary. From 1998 to 2000 he was artistic director of the festival "Elektrokomplex" in Vienna and Linz as well as from 2003 to 2009 of the concert series "Klangprojektionen" in Vienna. In 1999 he founded the "Vienna Noise Orchestra", of which he is member. For the last years he suffers from Parkinson's disease, nevertheless remains active. Several international concerts: 50 Years Festival Sonology The Hague 2014, ELAK 50 Vienna 2014, EMUfest Rome 2013, Music Innovation Studies Centre Vilnius 2013, Eletroacústicas Radio MEC Rio 2013, Festival Tempo Reale Florence 2012, GAS- Gothenburg Art Sounds Festival 2011, Festival Reseaux/ Akousma 2011 Montreal, Verona Risuona 2011, XIX Congress ABEM Goiania 2010, BEAST Concerts Birmingham 2009, Festival Suono Immagine 2009 Milan etc. He has been guest composer at different Latin American and European studios. Among his distinctions: prizes of the Austrian Chancellor's Office/Section of Arts 2006 and 2001, nominations for the International Computer Music Association Commission Award 1996 and 1995, Max Brand prize 1993. Selected works (instrumental music and sound installations): "Ad multos annos" for orchestra (2009), "Der Kuss" for ensemble and electronics (1999), "Die flüchtige Evidenz" for viola and fixed media (2012), "Kadenz" for chamber orchestra and electronics (2001), "Loslassen", sound installation (2007), “Mittwoch im Park” for electronics and saxophones (2014).,"Sieben" for percussion and electronics (2005), "Triflauto" for flute and UPIC (1994), "Wellen", sound installation (2003). Pour Annette (2011) Schenk mir dein Ohr (2006) 1 / 2 Portrait d'Igor Lintz Maués Epifania (1987-88) Antes o mundo não existia (1989) Durch unsre Stadt zum Tor hinaus (1990) Umformung (1994) Crater Music (2002) Aus dem Steg[reif] (2015) - création mondiale 2 / 2.

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Expanding Horizons: the International Avant-Garde, 1962-75
452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary.
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